リー・スクラッチ・ペリー最後の作品!COVID大流行中にレコーディングした最新アルバム『キング・ペリー』リリース!トリッキー、グリーンティ・ペン豪華ゲスト多数参加!

2021年8月に逝去したジャマイカでダブ・ミュージック界のパイオニアとしてレゲエの世界を広げた、リー・スクラッチ・ペリーの最後の作品『キング・ペリー』がFalse Idolsからリリース!!今作はCOVID大流行中に本人が構想、作曲、レコーディングされたもので2曲共同プロデュースを行ったリリース先のFalse Idolsの主宰者トリッキーや自ら「サイケデリックス R&B」とするグリーンティ・ペン等多数のゲストが参加している豪華アルバムとなっている!最後の曲「Goodbye」はペリーにとって最後のヴォーカル・パフォーマンスとなった。最後の最後まで音楽に取り組んだ偉大なリー・ペリーの最後のアルバムはレゲエ好きはもちろん音楽好きなら聞き逃し厳禁!

発売・販売元 提供資料 （2023/11/24）

King Perry isnt the first Lee "Scratch" Perry album to surface after the musicians death in 2021, but its clearly one of the more legitimate ones, considering how his discography is littered with low-budget, shoddy-looking efforts with unheard-of producers, distracting from more worthwhile collaborations with people like Adrian Sherwood and Mad Professor. King Perry, conceived during the COVID-19 pandemic, was helmed by U.K. producer Daniel Boyle, who was behind 2014s Grammy-nominated Back on the Controls and its follow-up The Black Album. While those releases intentionally tried to recapture the vintage dub sound of Perrys most groundbreaking work from the 1970s, King Perry was created out of the desire to do something new. The album was issued by Trickys False Idols imprint, and features appearances by Tricky as well as Greentea Peng, Shaun Ryder, Fifi Rong, and others. The production often leans closer to trip-hop and left-field R&B than traditional reggae rhythms, with "Evil Generation" being an intoxicating fusion of all of these and more. Well into his eighties at the time of recording, Perrys voice sounds frail and fatigued, but his spirit is as playful as ever, as he continues spinning the sort of free-associative word games that were his trademark. His lyrics often sound silly or nonsensical on paper, like when he declares himself the king of the animals and the ace of bass, but its all about the delivery and how they fit into the rhythms. "Green Banana" (featuring Ryder, who sounds a bit weathered but still up for it) and "Jesus Life" (with a hushed and shadowy Tricky) are two of the more danceable tracks, while "No Illusion" successfully adopts a tough, futuristic dancehall rhythm. The slow, sensual "I Am a Dubby" (featuring Marta) has one of the smoothest grooves on the record, even if Perrys voice sounds particularly raspy. While most of the album feels relatively carefree, "Future of My Music" (also with Tricky and Marta) and the tender and poignant "Goodbye," purportedly Perrys final recorded performance, are more self-conscious reflections on his mortality and legacy. King Perry doesnt rank among the pioneering artists classics, but its an enjoyable late-period effort that reminds listeners of his adventurous spirit and inimitable character. ~ Paul Simpson

Rovi